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About johnseury

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  1. I wonder what a Hitchcock/Stephen King collaboration would be like. It would seem like a match made in heaven but I think that it might have ended up like Hitch's collaboration with Raymond Chandler.
  2. Scanning some of the postings, I'm glad that several people have mentioned High Anxiety. It's a funny film, both a homage and parody. It's not as funny as Blazing Saddles, Young Frankenstien or the Producers but in the second tier of Brooks' films. I wonder if Hitchcock saw it. I think that Hitch would have enjoyed it.
  3. 1. In the Lodger, the crime is underway while in Frenzy, the crime has already been committed. 2. Among the touches are a sweeping panoramic shot, a crowd scene, a Hitch cameo, a victim of a crime, and violence and disorder infringing upon the ordinary. 3. A common theme I see is how Hitch shows how violence disrupts what is seemingly ordinary way of life and how you try to reorient back to normalcy.
  4. 1. You can tell that she is a crook, has multiple identities, lots of money, and can change her appearance and cover her tracks (by dumping the key). 2. The score seems melodramatic, like it is building up to something as yet to unfold. 3. Hitch looks away, like he has seen something that he shouldn't have.
  5. 1. This scene, especially with the romantic banter, is the calm before the storm. Literally, since the birds are hovering overhead lining up in formation before they attack. Rod and Tippi are flirting and getting to know each other and their relationship will certainly get put out the test. 2. Even thought I've seen bits and pieces of this movie over the years, I've never paid attention to the bird music until after I read the lecture notes & watched the videos. The birds are the real stars and their omnipresent sounds show that they are the main protagonists. 3. I don't know if Hitch's
  6. 1. The music and the graphics are violent, jarring, and fast-paced, foreshadowing the violence that is to come. 2. The specificality gives Psycho almost a documentary feel, setting it in a specific time and place, making it concrete and real, that much more terrifying. Coming in through the blinds takes vouyerism up a notch, like Rear Window on steroids. 3. This scene establishes Janet Leigh as a femme fatale, with an emphasis on fatale and fatal to boot.
  7. 1. This scene has the stars at the tops of their games and their flirtation is unsubtle. We know what they will get together but this set-up is clever and doesn't leave much to the imagination. 2. I think that the matchbook indicates that Thronhill's situation is rotten. And it leads up to a very seductive sequence when Eve blows out the match. Again, everything is in plain sight and nothing left to the imagination. 3. The sounds are the ordinary noise on a train that gets toned down for the seductive banter.
  8. 1. From the opening, you gather that the film is about swirling passion over a woman and the tricks that go on inside a person's head. It's a heavy trip, like they would have said 10 years after this film was released. 2. The deep penetration into Kim Novak's eye and the hurricane-looking spiral. Very indicative of stormy passion and destructiveness. 3. The images and score are a perfect combination. It is hard to imagine or appreciate one without the other. And if either element was paired with something else, I don't think that it would work.
  9. 1. F& M's style isn't as manic as Woody Allen or as zany as Mel Brooks. It is close to ZAZ's in that everything is thrown in, including the kitchen sink. I liked the bit where Tim Robbins snuffs out his pipe before the fight. Not only is it a parody of 70s style, but also urban gangs (Wesr Side Story?) and a million other things as well. 2. I kept on trying to identify everyone and could swear that Tony Dow was on Vince Vaughn's team. The cameos just enhance the madness. 3. There's a lot of Peter Sellers in Ferrell but this clip and some of his other works look like a fusion of ZAZ and
  10. 1. ZAZ throws everything and the kitchen sink in their gags and this scene is a great example of their approach. My favorite bit is as they walk into the lab, Ted and Ed walk through the door while Frank breaks the fourth wall and walks through the open space. 2. ZAZ's approach is similar to Brooks and Wilder but perhaps a bit more manic and self-referential. In the progression of slapstick through the ages, you see how the performers and filmmakers try to out too each other. 3. Clouseau was a more believable character than Frank Drebin, especially in the 60s films. The 70s Pink Panther fil
  11. All three clips were funny but I think that the Anchorman clips suffered from too much self-awareness. It was overall a funny film but like The Great Race and some of the other super slapstick films, it was bloated and ultimately weighed it (and the others) down. Sometimes you wink so hard that you can't see.
  12. 1. This scene reminded me of a coupled of scenes from the 1931 Frankenstein: the surgical removal of the brain (where in the movie, the brain is Abby Normal's) and the autopsy where the doctor tries to dissect the monster. Universal horror films had these classroom and lab scenes. Gene Wilder's disavowal of his family heritage reminded me of Basil Rathbone trying ( and failing ) to turn away from his family heritage. 2. Wilder tried to play it dry and straight in his delivery admist the whimsy of the situation and the material. The play on his name, his botched work on the old man, stabbing h
  13. 1. This scene is very much in the slapstick tradition: exaggerated situation, clever wordplay, wild soundtrack music & generalized incongruity. The parody comes with the send-up of revolutionary politics & the transplant of Borscht Belt schtick south of the border. 2. I agree with Mast. Woody is more deadpan and droll than Sennett's gang but his spirit is very much evident. I thought that The Great Race was too much of a homage and was bloated and overlong. Bananas was short, fast moving and hilarious. Sleeper might have more of the manic spirit of Sennett but I think that Mack would
  14. Like the verse from the book of Eccleastes, there is nothing new under the sun. Inventive comedians have always tried to give a fresh spin on their old material. The hammer bit from the Stooges was effective and funny, although I'm inclined to agree with Vince Cellini about Curly Joe. I hope to post something more in depth about the Stooges later this weekend. The pie fight scene was funny too, an obvious throwback to the past. At least there was an obvious backdrop for pie. And viewing that scene did make want some brandy.
  15. 1. The bright pastel colors, the exaggerated motions, melodramatic music and the long sweeping shore gives this scene a cartoon feel. It reminds me of a Roadrunner cartoon, especially with the balloon falling on Professor Fate & Max, like when Wile E. Coyote's schemes backfired on him. 2. The scene sets up its gags and it has that feeling and tenor of the past. 3. The Great Leslie is in white, pure and good with glistening teeth (one respondent mentioned Benny Hill using that bit-I thought of Lyle Wagoner as Steve Trevor in the Wonder Woman TV show.) Professor Fate and Max are in black
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